The Blacklist Declassified

For the record, I think Red is straight. I was making a “the case can be made” type of argument.
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I have a copy of the original script for The Blacklist pilot (it precedes even the online version which in turn is not identical to the performance). It has more information on Liz’s youth ➔ but it may be more important to know that they did decide to change certain things: it could mean they definitely are NOT going with these ideas. For instance, they apparently decided to change the time of the fire from when she was 14 to when she was four (or else there were two fires). Obviously, the final production is what matters. But, just fyi: about Liz’s youth, it says [stage directions in parentheses]:

Liz: I should believe you?
Red: Of course not. I’m a criminal. Criminals are liars. Everything about me is a lie. But if anyone can give me a second chance, it’s you. The two of us have overcome so much.
(Liz leans back. Doesn’t like this.)
⋙ Red: I mean, look at you. Abandoned by a father who was a career criminal. A mother who worked two jobs, despite her addiction, to keep you out of juvenile court. You’ve practically raised youself. And yet here you are. About to make a name for yourself. About to catch Ranko Zamani. (deadpan) I’m gonna make you famous, Lizzie. [I love that line!]
Liz: Don’t call me Lizzie.
⋙ Red: We both know the past doesn’t equal the future. You’ve learned from your experiences. They’ve given you tremendous insight. That’s why you’re gonna believe me.

Other small changes: Red’s wife is said to have been named Ellen. It says that, though she knew he was alive, she still held vigil for him every year on Christmas Eve. I read somewhere that the next few episodes will delve into the story of Liz’s mother. Should be interesting.

⋙ There is more background on Red. Originally, they had him going to West Point, not Annapolis. Ressler says “By 30 he was an intelligence officer in the Army. Made captain. Military Liaison Officer to the NSA.” It also gives more background on his criminal activities.

⋙ The scene where Red asks about Liz’s scar is more intimate. The encounter takes place at a table inside the containment cell:

(He notices the way Liz is mysteriously opening and closing her fist.)
Red: Why do you do that?
(She places her hand on her lap.)
Liz: I need your help with Zamani.
Red: How about a trade. You tell me, I tell you. Tell me about that scar on your palm. I’ve noticed how you hide it.
(Liz swallows, reluctant.)
Liz: There was a fire. I was fourteen.
Red: Someone tried to hurt you.
Liz. Not exactly.
Red: But the scar. What does it remind you of? When you touch it?
(Reaching out.)
May I?
⋙ (Liz reluctantly extends her hand. Red takes her hand, runs his fingertips over the scar tissue as if he might see into her past. It’s uncomfortable. Red’s thumb follows the scar up her arm, under her sleeve. He looks into her eyes.)
Red: Is a child really that you want?
(Liz pulls away, stunned.)
Liz: How on earth did you know –
Red: I know it’s exciting, that you’ve waited, but a child can’t fix what happened in the past.
Liz: How dare you. You lost the privilege of speaking about parenthood when you abandoned your wife and child on Christmas Eve. Addy? How old would she be now? Thirty? You don’t know because you walked away. So keep your Fatherly advice to yourself.
Red: You won’t find the girl until you’ve learned to look at this differently.
Liz: And how should I look at this?
Red: Like a criminal. It may come easier than you think. …

Skipping ahead, the money, gun and passports are in a duffel bag, not a box. No mysterious marks on the bag are mentioned.

Those are the main differences I found.

[Cross-posted at WSJ Speakeasy]